The Romanesque and Islamic Period

Summary

This week I read Chapter 5 of Mark Hinchman’s book History of Interior Architecture, which focused on Romanesque and Islamic design. Romanesque design began around the 11th century and influenced many later styles, including Gothic and 19th-century architecture, which is one of my favorites. The Islamic period started in the 7th century, and its design principles continue to shape art and buildings around the world, especially in Africa, the Middle East, and Asia. What I learned most about this era is how designs responded to structure, climate, religion, materials, and daily life, all of which shaped the way spaces were created. The use of repeated arches in both Romanesque and Islamic architecture creates a sense of rhythm and also supports the structure. Even though these styles are distinct, they have influenced each other in significant ways.

Old vs New

The Romanesque Chest is a great example of how architecture and furniture were blended in interior designs. Its carvings and tracery-like decorations make the chest look like a miniature architectural facade. This shows the close relationship among architecture, furniture, and ornament, all coming together to create something beautiful. A contemporary chest or closet takes the same basic idea of storage and adapts it into a piece of furniture. Today’s versions would just be updated chests or closets. I like this more modern approach because it shows how old furniture concepts can survive by evolving to meet present-day needs.

Oak Chest 11th Century (1.1)

Modern Style Trunk Chest and Wardrobe Closet (1.2 & 1.3)

The Romanesque house in Cluny is a beautiful example of medieval domestic architecture. Its facade features rounded arches, thick masonry, small windows, and strong horizontal and vertical elements. This house shows that Romanesque principles were not limited to churches. Homes and commercial buildings also had the same use of arches and masonry. Today, the surviving building is recognized as a historic monument in Cluny. A more modern example would be the Holy Cross Church in Leipzig, Germany. It was built in the 1890’s and brings Romanesque ideas through elements such as rounded arches, stone/brick walls, deep openings, and bold geometric shapes. Rather than copying medieval buildings exactly, this type of design takes inspiration from the most recognizable features.

Romanesque house in Cluny, France (2.1)

Holy Cross Church in Leipzig, Germany (2.2)

The Great Mosque of Kairouan stands as one of the most important examples of early Islamic architecture in North Africa. Its design features a large courtyard, galleries, and prayer hall. The layout and architectural details of this mosque went on to inspire many later mosques throughout the area. The Mosque of Reflection in Dubai offers a compelling modern comparison to the Great Mosque of Kairouan. Its design features a central open courtyard surrounded by repeated arches, creating a smooth transition between outdoor and indoor spaces. The contemporary mosque uses minimalist materials such as glass and steel, but the experience of moving through an arcaded courtyard is similar to the spatial organization at Kairouan.

Great Mosque of Kairouan (3.1)

Mosque of Reflection (3.2)

One Step Further

For my “One Step Further,” I chose Hassan Fathy, an Egyptian architect who lived from 1900 to 1989 and whose work connects deeply with the Islamic architectural traditions. What interests me most about Fathy is that he did not simply copy historic architecture. Instead, he studied traditional building methods and thoughtfully adapted them to modern housing, local climate, and the needs of the community. Fathy is especially known for designing New Gourna, a village near Luxor, Egypt. He used local mud brick and traditional vaulting techniques, along with courtyards and thick walls to help moderate the harsh climate. His work closely relates to Islamic architecture because it features courtyards, arches, domes, vaults, local materials, shaded spaces, and a strong focus on community. Fathy’s approach demonstrates that historical architecture can inspire solutions to modern problems and does not have to be used only as decoration.

Hassan Fathy (4.1)

New Gourna Village (4.2)

Conclusion

After reading this section on Romanesque and Islamic design, I understand these periods as much more than just a collection of arches and decorative patterns. Their architecture developed from the relationship between structure, materials, climate, religion, and daily life. Romanesque buildings emphasized strength with thick masonry and rounded arches, while Islamic architecture developed systems of courtyards, columns, arches, and geometric layouts. I was especially interested in the Romanesque Chest, as its designs are so well carved and thought out for everyday use. Learning about Hassan Fathy helped me realize that historical ideas do not need to be copied exactly, but can be adapted and reinterpreted. This period showed me that truly good design remains relevant for centuries when its core principles of function, structure, climate, materials, and human experience are still meaningful.

Early Christian and Byzantine

Summary 

This week, I read the Early Christian and Byzantine chapter from Mark Hinchman’s History of Interior Architecture book. This period formed after the fall of the Roman Empire and the spread of Christianity, and most of the designs shown focus on that topic. What stood out to me is how much the art and architecture from this era were driven by religious themes and a desire to create spaces that supported Christian gatherings and worship. Many of the new architectural forms were inspired by earlier Roman and Greek designs, but they were adapted to express Christian beliefs. The central dome is one of the most iconic features of Byzantine architecture, which often sits above a square or round space to create a sense of openness. Interiors were filled with mosaics, gold, marble, arches, columns, and carefully controlled natural light. These characteristics made the spaces feel larger, brighter, and more spiritual than their materials alone could. Mosaics were especially important, turning walls and ceilings into vivid images for storytelling.

Old vs. New 

The Aula Palatina in Trier, Germany, built in the fourth century, is a great example of how architecture can shape experience. When you step inside, you can’t help but notice the huge rectangular hall and the apse at one end, which would have focused on a speaker, statue, or altar. But what really makes the space special is how the curved half-dome and tall windows fill the hall with natural light. The way the sunlight moves across the walls makes the whole place feel welcoming, giving it an atmosphere that’s dramatic but also surprisingly inviting. It’s a space designed not just to impress, but to make you feel something as soon as you walk in. A modern example of this can be seen in St. Nicholas Greek Orthodox Church and National Shrine in New York City, designed by Santiago Calatrava. Its interior uses a centralized domed space, arches, imagery, and plenty of natural light. The building is contemporary, but it continues the Byzantine tradition of making the dome a major visual focus. Both interiors organize the space and draw the viewer’s attention upward.

Apse of the Basilica of Constantine (Aula Palatina) (1.1)

St. Nicholas Greek Orthodox Church (1.2)

The Hagia Sophia was built in Istanbul and is one of the most iconic monuments of Byzantine architecture. Built in the sixth century under Emperor Justinian, it was originally a Christian church and is famous for its massive central dome, stunning mosaics, and the way it fills with natural light. Over the centuries, the Hagia Sophia has had many purposes and is now a museum. Its grand scale and blend of architectural styles make it a powerful symbol of both religious dedication and artistic achievement. St. Sava Serbian Orthodox Cathedral in Milwaukee is known for its Byzantine Revival style. Inside, you’ll find beautiful mosaics, a striking central dome, and religious images arranged just like in classic Byzantine churches. Even though building technology and materials have evolved, the practice of decorating walls and domes with symbolic imagery has carried on, linking today’s sacred spaces with their historic roots.

Hagia Sophia (2.1)

St. Sava Serbian Orthodox Cathedral (2.2)

The Throne of Maximian stands out as a masterpiece of Byzantine furniture, representing luxury and craftsmanship. But simple three-legged stools were a part of everyday life for ordinary people. They were typically made from wood and often had a handle. A modern example of this would be just your average folding chair or stool, I chose the IKEA KYRRE birch stool.

Medieval Stool (3.1)                                                   KYRRE Stool (3.2)

One Step Further

Anthemius of Tralles was one of the architects responsible for the design of Hagia Sophia. I found him especially interesting because he was not simply an architect but also a physicist and scholar of geometry. After the previous Hagia Sophia was destroyed, Emperor Justinian commissioned a completely new church. What interests me most about Anthemius is the connection between mathematics and the interior experience. The geometry of Hagia Sophia was not just about making the building stand. It also affected what people experienced when they entered. The dome, pendentives, arches, and windows work together to create a feeling of openness and light. Anthemius’s contribution demonstrates that successful interior architecture involves more than decoration. Structure, geometry, light, materials, and human perception can all work together to create an architectural experience.

Anthemius of Tralles (4.1)              Hagia Sophia (art) (4.2)

Conclusion

After studying Early Christian and Byzantine design, I understand the period as much more than an architectural style based on domes and gold mosaics. The designers aimed to create an experience in which architecture, artwork, light, color, symbolism, and structure worked together. Today’s architects might use arches, domes, mosaics, symmetry, natural light, and luxurious materials, not to copy the past, but to bring a sense of history and beauty to new spaces. Furthermore, this period really helped me appreciate how old ideas can inspire contemporary architecture in ways that still feel relevant and creative.

Classical Civilizations

 Summary & What I Learned

For this week, I read the Classical Civilizations chapter in the History of Interior Architecture by Mark Hinchman. In this reading, I developed a better understanding of the foundational influences that ancient Greece and Rome have on modern architecture and interior design. This chapter focuses on the evolution of architecture from the Minoans, who favored nature-inspired, colorful, and open spaces, and the Mycenaeans, known for their monumental and defensive structures, to Classical Greece, which prioritized proportion, order, and the relationship between architecture and the human body. Rome then adapted and expanded Greek ideas, using arches, vaults, and concrete to create elaborate interior spaces such as baths and villas, richly decorated with mosaics, murals, and marble. The chapter shows how Greek and Roman innovations in structure, proportion, and decoration became a foundational influence on the history of architecture and interior design today.

New vs. Old

The Minoan column is a feature that I found to be interesting. Unlike the Greek columns that usually become wider toward the bottom, Minoan columns taper downward. Their unusual proportions demonstrate that ancient designers were already thinking about structural elements as well as appearances. A specific example of this is the columns in the Palace of Knossos in Crete. The way the top of the columns comes out and cushions the top structure is the complete opposite of Greek columns. A more modern example of this is Frank Lloyd Wright’s SC Johnson building. He used the idea of Minoan columns, which shows that ancient design continues to influence architects thousands of years later.

Palace of Knossos (1.1)

SC Johnson Building (1.2)

The Greek approach to furniture was very fascinating. Because very little original wooden furniture survived, historians have learned about Greek furniture through vase paintings and other visual sources. These images show stools, tables, couches, beds, chests, and chairs. My favorite example is the klismos chair. Its curved back and dramatically splayed legs make it look surprisingly modern. The chair was designed around the human body and movement, which connects furniture design directly to the Greek interest in human proportion. Modern versions maintain the characteristic curved back and sweeping legs while using new woods, upholstery, and manufacturing methods. An example is the designer T.H. Robsjohn-Gibbings, who did an updated version of the chair in the twentieth century. Although he kept its original curved back and splayed legs, it doesn’t feel the same and loses part of the essence of the original.

Poetry Depicting the Klismos (2.1)

Modern Klismos by Robsjohn-Gibbings (2.2)

The discovery of Pompeii gives us an unusually detailed look at Roman interiors. The eruption of Mount Vesuvius preserved houses, furniture, wall paintings, mosaics, and everyday objects. Roman interiors could be extremely decorative, using painted architectural details, illusionistic perspectives, landscapes, figures, and rich colors. The tablinum of the house of Marcus Lucretius Frontinus is a great example. Its black, red, and yellow color scheme really stands out even thousands of years later. Present day, this would simply be the equivalent of a home office combined with a formal parlor or foyer. This demonstrates how even though the way we build homes and how we style them has changed, functionality and use have remained almost the same.

House of Marcus Lucretius Frontinus (3.1)

Modern Office and Parlor Combination (3.2)

One Step Further

The architect I found most interesting from this chapter is Iktinos. What interests me is that his work shows that Greek architecture was more experimental than the stereotypical image of “perfect columns” or temples. Iktinos is associated with the Parthenon at Athens and the Temple of Apollo Epicurius at Bassae. The Parthenon demonstrates his involvement with highly controlled proportions and optical refinements, while Bassae demonstrates his willingness to experiment with different architectural orders and an unusual orientation. The Temple of Apollo at Bassae is especially interesting because it combines Doric columns on the exterior, Ionic elements inside, and an early Corinthian column. That combination suggests that classical architecture was developing through experimentation rather than following one constant “recipe”.

Iktinos (4.1)

Parthenon at Athens (4.2)

Temple of Apollo Epicurius at Bassae (4.3)

Conclusion

After studying this chapter, I understand classical design as much more than a collection of columns, temples, and decorative details. The Greeks and Romans developed ideas about proportion, structure, material, furniture, color, light, symmetry, movement, and the human experience of space that continue to influence designers today. The Greeks were particularly interested in creating visual harmony and relating architecture and furniture to the human body, while the Romans expanded the possibilities of interior space through arches, vaults, concrete, domes, and sophisticated residential interiors. What I find most interesting is that classical design continues to change as each generation interprets it differently. A modern house can use a classical column, a contemporary chair can reinterpret the klismos, and a public building can use Greek elements without literally becoming an ancient Greek building. Furthermore, this shows why classical civilizations remain so important to interior architecture. Their greatest contribution was not one specific style, but a design vocabulary that later generations continue to reinterpret.

Ancient civilizations: Mesopotamia, Egypt, and Nubia

Summary

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This week, I read the second chapter of the book History of Interior Architecture by Mark Hinchman. This chapter focused on three important ancient civilizations, Mesopotamia, Egypt, and Nubia. Although these civilizations developed their own unique cultures, they were connected through trade, warfare, religion, and cultural exchange. All three civilizations depended heavily on rivers. Mesopotamia developed between the Tigris and Euphrates Rivers, while Egypt and Nubia depended on the Nile. These rivers supported agriculture and helped these civilizations develop cities, governments, economies, and complex cultures. Even though they developed independently from one another, there is a clear cultural impact because of their connection. One of the things that stood out to me most was how strongly architecture and interior design were connected to religion, politics, and social status. Buildings weren’t simply created for practical purposes; they were designed to communicate power, protect important people, honor gods, and prepare individuals for the afterlife.

Current Applications: Old vs New

Mesopotamia was home to some of the world's first cities, such as Uruk and Babylon, and left a mark in writing, mathematics, astronomy, and trade. Mesopotamian architecture primarily used sun-dried mud bricks due to the scarcity of stone and wood, but builders enhanced these structures with plaster, bright paint, intricate glazed brickwork, and bold sculptural reliefs. Monumental city gates like the Ishtar Gate in Babylon, decorated with bold blue glazed bricks and rows of molded lions and dragons, not only controlled who comes in and out but projected wealth and power. Inside palaces and temples, walls showed carved stone or clay reliefs depicting military victories, religious rituals, and mythological animals. Everyday and ceremonial furniture was typically crafted from wood and occasionally decorated with ivory inlay or bronze fittings. A more modern example would be the Los Angeles Central Library. Its monumental type entrance shows the impact of Mesopotamian city gates and interiors.

Ishtar Gate (1.1)

Los Angeles Central Library (1.2)

Egyptian architecture was deeply tied to religion and the afterlife, which heavily influenced their tombs, temples, art, and furniture. Builders used plentiful stone to create lasting monuments. The Old Kingdom, known for pyramids like Djoser’s complex at Saqqara, marked a breakthrough in monumental stone construction under the architect Imhotep, who I wrote about in my last post. Egyptian designs balanced order, geometry, and symmetry with inspiration from nature, as seen in columns shaped like reeds or lotus. Furniture, often preserved in tombs, blended geometric and natural forms with woodworking and decorations such as the gilded bed and chair of Queen Hetepheres. Tutankhamen’s folding bed shows how furniture could be practical and elegant, using woven materials for comfort. Animal feet, plant motifs, and curved forms reflected the Egyptians’ focus on craftsmanship, symbolism, and comfort. A more modern example of this is the Transamerica Pyramid in California, with a pyramid-like silhouette and geometric clarity that recalls ancient forms, though now serving a commercial function rather than a monumental or spiritual one.

Djoser Step Pyramid (2.1)

Transamerica Pyramid (2.2)

Nubia, located south of Egypt along the Nile, had a complex relationship with Egypt through trade, warfare, and cultural exchange. It provided gold and ironworking, while Egyptian influence is seen in Nubian temples, art, and architecture. During the Twenty-Fifth Dynasty, Nubian rulers governed Egypt, blending Egyptian traditions with their own identity. Nubian pyramids, notable for being smaller and steeper, reflect both cultural borrowing and uniqueness. Everyday Nubian objects, like pottery, textiles, and furniture, featured geometric and natural designs, emphasizing a culture distinct from Egypt. The Pyramids at Meroë are smaller than the pyramids in Egypt, but had similar purposes and were created to be burial chambers for kings and queens. A more modern example of Nubian architecture is the Nubian Vault Association, which teaches a more sustainable and eco-friendly way of building homes that is very similar to how ancient Nubians would have built in the past.

Pyramids at Meroë (3.1)

Nubian Valts (in progress) (3.2)

One architect that I found interesting was Senenmut. He was an important architect, royal official, and trusted adviser during the reign of Queen Hatshepsut in Egypt's New Kingdom. Queen Hatshepsut commissioned Senenmut herself, which shows just how connected and high ranking he was. Senenmut is associated with Hatshepsut’s Mortuary Temple, which is also known as the “Djeser-Djeseru” or Holy of Holies. The temple is one of the most recognizable examples of New Kingdom Egyptian architecture. It’s integrated into the natural landscape and is organized into large terraces that rise toward the cliffs behind the building. This creates a strong relationship between architecture and the surrounding landscape. One of the aspects I find most interesting about the temple is its sense of order and symmetry. The long horizontal terraces and vertical elements create a balanced composition. At the same time, the architecture does not ignore its natural surroundings. Instead, the cliffs become part of the design. The temple also contains columns, reliefs, sculptures, and painted decoration. These elements communicate the story and power of Hatshepsut while also connecting her rule to Egyptian religious traditions. His work also demonstrates how architecture can shape the experience of people moving through a space. Visitors approach the temple through a series of terraces and ramps, gradually moving upward toward the monumental architecture. The sequence creates a dramatic sense of arrival. I think Senenmut is an interesting designer to study because his work shows that architecture can do more than provide shelter. It can guide movement, create emotional experiences, communicate political authority, and connect people with their environment.

Hatshepsut’s Mortuary Temple (4.1)

Conclusion

Ancient design still shapes today’s architecture and interiors. Modern designers rarely copy old buildings, but they often adapt ideas like symmetry, geometry, dramatic entrances, and decorative patterns. Creating a strong entrance remains important. Mesopotamian palaces used giant sculptures for impact. Today, architects use big doors, columns, or bold lighting for a similar effect. Learning about Mesopotamia, Egypt, and Nubia showed me that ancient architecture was about much more than big monuments. Buildings reflected religion, power, climate, and culture. I was intrigued by how architecture was used to show power and beliefs, like how Mesopotamian palaces impressed visitors, or how Egyptian temples connected to the afterlife. Nubia showed how cultures could share ideas but stay unique. Studying Senenmut and the Temple of Hatshepsut made me realize the importance of proportion, symmetry, and how buildings fit into their surroundings. Furthermore, this chapter highlights how the design principles developed by ancient civilizations continue to inspire architects and designers today.